The catalogue

The catalogue is every work there is: find one here, open one here. There is no second list. Adding one is the New button in the title bar, which reaches from any screen.

Each row carries the work’s title, its status and kind, the tier and score it last earned, and when it was scored. Clicking a row opens it.

Choosing the columns

The columns button above the table, to the right, says which columns it draws. It opens with the title, the stage dial, the marks, the tier, the score, when it was judged and when it last changed; beside those there are three more:

Column	What it says
ID	The work’s identifier, shortened — what a plugin or the assistant calls it
Versions	How many versions the work holds, across every role
Added	When it was first written down

The title cannot be turned off: it carries the row’s identity and the link into the work.

Your choice survives a restart, like the sort and unlike the filters. It is how you prefer to read the table, not what you are doing this minute. It is kept on the profile, as catalogue_columns: a novel and a record are read down different columns, so switching craft switches the columns with it, and a second machine opens the same profile on the same table. A workspace from before this field opens on what the machine remembered and writes that list to the profile once.

Each kind of work can be read down its own columns. Narrow the catalogue to a kind and choose columns: the choice is kept for that kind, as catalogue_columns_by_kind, and the shared list stays as it was. A kind you never chose columns for reads down the shared list. Videos will grow columns of their own — scenes, frames — as the video stages land; the place for them is already there.

A mark your profile no longer defines is not drawn, the same rule the card follows: renaming a mark never touches a work.

The columns go in the order you put them. In the columns menu the shown columns come first, in the order the table draws them, each with a grip on its right; drag a row up or down to move that column left or right in the table, or, with a row focused, press Alt + ↑ / Alt + ↓. A column you turn on joins at the end, where it is found without looking, and is dragged from there to where it belongs. The order is kept where the choice of columns is kept — on the profile, and per kind when you chose columns for a kind — so it follows the profile to a second machine the way the columns do.

Column widths are dragged. Every heading ends in a thin handle; drag it to make the column wider or narrower, and double-click it to give the column its natural width back. A column narrowed past its contents clips them with an ellipsis rather than folding the row onto two lines — the full title is in the tooltip. The title takes whatever width the window has spare, unless you sized it by hand too. Widths are kept per machine, not on the profile: the pixels that fit a title on a laptop are not the pixels that fit it on a monitor, and a width that followed the profile would carry the wrong answer to the other screen.

With enough columns on, or a narrow enough window, the table scrolls sideways rather than squeezing its cells: the bar sits at the bottom of the window, and the column headings stay put as you scroll down.

Grouping

The group dropdown folds the table into blocks by status or by tier. Click a block’s heading to collapse it; the count beside the heading says how many rows are inside.

The sort still decides the order, so a catalogue grouped by tier and sorted by score opens on the tier holding your best work. Works with no value — no tier yet — gather in a block of their own at the bottom, for the same reason unscored works sort last.

Grouping is forgotten when you close kilna, like the filters. It is a way of interrogating the list today.

Grouping by collection is deliberately not offered yet: collections have no screen of their own until a later version, and grouping by something you cannot open or edit would promise the feature twice.

Sorting

Click a column heading to sort by it; click it again to turn it around. An arrow shows which column is doing the sorting and which way.

Every column sorts except the two that answer no ordering question — the ID and the marks. Numbers and dates open at the top: the best score, the most recent edit. Words open at A.

Unscored works stay at the bottom either way. They are not the worst work you have, they are the work nothing has judged yet, and floating them to the top of a “worst first” sort would bury the answer you asked for.

The sort is remembered between sessions — it is how you prefer to read the table, a standing choice.

Filters hold for as long as kilna is open, and no longer. Opening a work and coming back is the commonest thing anyone does here, and a filter that did not survive it made the catalogue tiresome to use. Keeping filters across restarts would be the opposite mistake: finding the catalogue still hiding most of your work the next morning reads as lost data rather than as a setting you left on. Closing the window is the reset, and it is one you never have to remember to perform.

Narrowing the list

The kind of work sits above the search box as a row of chips — All, then each kind your profile has, with the count of works behind it — as soon as the profile has more than one kind. It is the mode the catalogue is in: songs, videos, shorts. Choosing a kind shows only those works and stops naming the kind on every row; choosing it again goes back to all of them. The row is the same filter as kind: in the box, so a saved view keeps it.

The search box matches anything the work says, not only its title: the lyric, the notes on it, the craft fields, what the assistant said about it. So which of my songs mention a fridge is a question you can type — холодильник — and typing two words narrows to the works that say both. Titles keep narrowing as you type, and the rest arrives a moment later; see Finding things for how a word is matched.

The two dropdowns narrow by status and tier.

The star beside them shows only the works you starred — the ones to come back to. A star is raised and lowered with a click, on the row or on the card’s header, and undo takes it back like any edit; it derives nothing and is not a word of the profile, which is why it is a chip and not a token in the box.

The dial in its own column says how finished each work is, as its author judges it — an empty ring for one nobody has judged yet. Click it to set the stage from the row; the same dial sits beside the star on the card, on the calendar chip and on the dashboard. It is not the status: a work is routinely Scored and still Polishing. See stages for the stops and how to name your own.

Each row says where the work stands as a badge in the status’s own colour — Scored, Scheduled, Released — and what it is in outline until the catalogue is narrowed to a kind. The colours are the profile’s (statuses[].colour); a status without one reads in outline. Marks in their column carry their glyph and colour the same way the card’s chips do.

Narrowing from the box

The box also reads operators, so a slice you would otherwise click together from three dropdowns is one line:

tier:clip status:draft winter

Operator	Narrows by
`status:`	Your profile’s statuses
`kind:`	Your profile’s kinds of work
`tier:`	Your profile’s tiers
`tag:`	A tag you put on the work yourself
`stage:`	How far along the work is — a stop’s name, or its number

Anything that is not an operator searches the full text. Quote a phrase to keep it together: "paper boats" tier:clip.

A few things about how it reads what you type:

The word on screen works as well as the key. Your tiers might be keyed clip and pic while the screen says Clip and Picture; tier:Picture finds the same works. Case never matters, in any alphabet.
A tag is matched whole. tag:win does not find winter — tags are words you chose, so the exact one is the one you mean.
A stage is named or numbered. stage:polish, stage:Polishing and stage:80 all mean the same stop. The line is written back as the number, so a saved view keeps meaning the same thing if you rename the stop later.
A colon you did not intend as an operator stays in the search. A work called Ratio: a love song is found by typing its title, because Ratio is not a field kilna knows.
A value your profile does not have is said out loud, under the box, rather than left to look like a search that found nothing.
The box and the dropdowns are the same filter. Pick a tier from the dropdown and the box says tier:clip; clear the box and the dropdown clears with it. The gap chips are the exception — they have their own row and are not written into the line.

Narrowing from a column

Four headings carry a funnel, shown when the pointer is over the heading and staying on, filled, while that column is narrowing the list:

Column	The funnel asks for
Work	Part of the title, matched anywhere in it and in any case
Stage	One or more of your profile’s stops — works standing at any of them
Tier	One or more tiers
Marks	One or more marks — works carrying any of them

Ticking two stops means either, the way the status dropdown means one status; the funnels on different columns combine as and, with each other and with everything in the box. So winter in the box with Polishing and Finished ticked under Stage is “winter songs that are nearly done”. A work nobody has staged stands at no stop and is left out once stops are ticked; the same for a work with no tier. Clear inside the panel empties that funnel; unticking the last box does the same.

Column filters are not written into the query line: a set of ticked stops has no place in it. They have the query’s lifetime — kept while kilna is open, gone when it closes — and the count above the table, and its Clear, take them into account together with the box. Opening a saved view puts every funnel down, since a view is the whole question; the funnels are not part of a view.

Views: a slice worth keeping

Unscored clips. Winter songs still in draft. The questions you ask the catalogue every week are worth one click rather than four.

Save this view keeps what is on screen — the filter, the sort and the grouping — under a name you give it, as a chip above the table. Click the chip to put the catalogue back exactly as it was; click the × on it to forget it.

The chip lights up while the catalogue matches it, and goes quiet the moment you change anything. What is highlighted is always what you are looking at.
Saving under a name you already used replaces that view rather than making a second one beside it. That is how you adjust one.
Views survive a restart, unlike the filters themselves: a named question is a standing one. They are kept per machine for now — the columns moved onto the profile in v0.50, and views follow when a version has a reason to move them.
The chosen columns are not part of a view. They are how you read the table everywhere, not a property of one question.
Twelve at most — past that the bar stops being a short row of standing questions and becomes a second list to search through.

Views are drawn on the catalogue rather than in the app’s left rail: the rail lists the screens, and a slice of the catalogue named there while the calendar is open would point at something not on show.

The chips below them find unfinished work — the gaps you can still do something about:

Chip	What it finds
Not scored	Nothing has judged these yet
Nothing planned	Judged, but nothing has gone out and nothing is booked
Score is old	The work changed after it was scored

Nothing planned deliberately leaves out anything already released: it needs nothing from you. That rule comes from the predecessor of this app, whose first version of the same idea listed ten songs that had already shipped and offered to fix them.

One chip at a time; clicking the one that is already on turns it off.

While anything is narrowing the list, a count says how much you are not seeing — 1 of 12 — with Clear beside it. When nothing is filtered the count stays out of the way, because “12 of 12” tells you nothing.

Working on several at once

The checkbox on each row picks it out; the one in the heading takes every row currently shown — filtered-out works are never caught by it.

Shift-click takes everything in between. Tick one row, then shift-click another, and the run between them follows the first row’s state: dragging out of a ticked row fills the span, dragging out of an unticked one clears it. The run is what you see, in the order the table is showing it.

A bar appears above the table with your profile’s AI actions, and an Actions menu holding the ordinary ones:

Move to status — a submenu of your statuses; sends the whole selection to the one you pick. Chosen by hand, so each one holds there: the automation leaves a hand-set status alone until you unpin it.
Take off the calendar — returns every booked release in the selection to the queue. Anything already released is left alone; its date is a record of what happened, not a booking.
Delete — apart, below a separator. Takes the whole batch to the trash and offers one undo for all of it, not one toast per work.

Each of these is one request rather than one per work, so the journal records the batch as the single thing you did, and a failure cannot leave half the selection changed with nothing to say where it stopped. If a work was already in that status, or had nothing booked, it is passed over rather than reported as an error — that is why the number can be smaller than what you ticked — and a second note under the result names each work passed over and why: “already that way”, “nothing booked”, or what refused it.

The same bar carries your profile’s AI actions. A click asks that action of every chosen work — each gets its own chat and its own answer, exactly as a click on its own card would. Three run at a time and the rest wait their turn; see asking for many at once.

The selection is forgotten as soon as you act on it, and is not remembered across a restart. It is about the next click, not a state to keep.

The ⋯ at the end of a row opens what you can do with just that work:

Score it — opens the work on its Score tab.
Plan a release — opens it on Releases.
Delete — to the trash, with the same undo.

Nothing in that menu opens the work by accident: clicks inside it stay inside it.